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Full text of "They still draw pictures! A collection of 60 drawings made by Spanish children during the war;"




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the 

university of 

Connecticut 

libraries 



art, stx 



N 352.T5 
They still draw pictures! 



















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They Still Draw Pictures! 

A collection of 60 drawings made by 
Spanish children during the war 



INTRODUCTION BY 

ALDOUS HUXLEY 



4 



New York. 1938 



Copyright 1938 by 

THE SPANISH CHILD WELFARE ASSOCIATION OF AMERICA 

9 East 46th Street, New York 



All rights in this book are reserved and it may 
not be reproduced in whole or in part without 
written permission from the holders of these 
rights. For information address the publishers. 
PRICE $1.00 



PUBLISHED BY 

THE SPANISH CHILO WELFARE ASSOCIATION 

OF AMERICA 

FDR THE 

AMERICAN FRIENDS SERVICE COMMITTEE 

(QUAKERS) 



INTRODUCTION 



HIS is a collection of children's drawings; it is 
also and at the same time a collection of draw- 
ings made by little boys and girls who have 
lived through a modern war. 



Let us consider the collection in both its aspects — as a purely 
aesthetic phenomenon and as an expression of contem- 
porary history, through the eyes of the sociologist no less 
than of the art critic. 

From an aesthetic and psychological point of view, the most 
startling thing about a collection of this kind is the fact 
that, when they are left to themselves, most children display 
astonishing artistic talents. (When they are interfered with 
and given "lessons in art," they display little beyond docility 
and a chameleon-like power to imitate whatever models are 
set up for their admiration.) One can put the matter arith- 
metically and say that, up to the age of fourteen or there- 
abouts, at least fifty per cent of children are little geniuses 
in the field of pictorial art. After that, the ratio declines with 
enormous and accelerating rapidity until, by the time the 
children have become men and women, the proportion of 



Page 4 



geniuses is about one in a million. Where artistic sensibility 
is concerned, the majority of adults have grown, not up, but 
quite definitely down. 

The sensibility of children is many-sided and covers all the 
aspects of pictorial art. How sure, for example, is their sense 
of colour! The children whose drawings are shown in this 
collection have had the use only of crayons. But crayons 
strong enough to stand up to the pressure imposed on them 
by impatient childish hands are a most inadequate colour 
medium. Child colourists are at their best when they use 
gouache or those non-poisonous, jam-like pigments which 
are now supplied to nursery schools and with which, using 
the familiar techniques of playing with mud or food, even 
the smallest children will produce the most delicately har- 
monized examples of "finger painting." These Spanish chil- 
dren, I repeat, have had to work under a technical handi- 
cap; but in spite of this handicap, how well, on the whole, 
they have acquitted themselves. There are combinations of 
pale pure colours that remind one of the harmonies one 
meets with in the tinted sketches of the eighteenth century. 
In other drawings, the tones are deep, the contrasts violent. 
(I remember especially one landscape of a red-roofed house 
among dark trees and hills that possesses, in its infantile 
way, all the power and certainty of a Vlaminck). 

To a sense of colour children add a feeling for form and a 
remarkable capacity for decorative invention. Many of 
these pastoral landscapes and scenes of war are composed 



Page 5 



— all unwittingly, of course, and by instinct — according to 
the most severely elegant classical principles. Voids and 
masses are beautifully balanced about the central axis. 
Houses, trees, figures are placed exactly where the rule of 
the Golden Section demands that they should be placed. 
No deliberate essays in formal decoration are shown in this 
collection; but even in landscapes and scenes of war, the 
children's feeling for pattern is constantly illustrated. For 
example, the bullets from the machine guns of the planes 
will be made visible by the child artist as interlacing chains 
of beads, so that a drawing of an air raid becomes not only 
a poignant scene of slaughter, but also and simultaneously 
a curious and original pattern of lines and circles. 

Finally, there is the child's power of psychological and dra- 
matic expression. This is necessarily limited by his deficien- 
cies in technigue. But, within those limitations, the invention, 
the artistic resourcefulness, the power of execution are often 
remarkable. The pastoral scenes of life on the farm in time of 
peace, or in the temporary haven of the refugees' camp, are 
often wonderfully expressive. Everything is shown and 
shown in the liveliest way. And the same is true of the 
scenes of war. The drawings illustrating bombardment from 
the air are painfully vivid and complete. The explosions, 
the panic rush to shelter, the bodies of the victims, the weep- 
ing mothers, upon whose faces the tears run down in bead- 
like chains hardly distinguishable from the rosaries of ma- 
chine-gun bullets descending from the sky — these are por- 
trayed again and again with a power of expression that 



Page 6 



evokes our admiration for the childish artists and our horror 
at the elaborate bestiality of modern war. 

And this brings us by an easy and indeed inevitable transi- 
tion to the other, non aesthetic aspect of our exhibition. It is 
a pleasure tc consider these children's drawings as works 
of art; but it is also our duty to remember that they are signs 
of the times, symptoms of our contemporary civilization. If 
we look at them with the eyes of historians and sociologists, 
we shall be struck at once by a horribly significant fact: 
the greater number of these drawings contain representations of 
aeroplanes. To the little boys and girls of Spain, the symbol 
of contemporary civilization, the one overwhelmingly signi- 
ficant fact in the world of today is the military plane — the 
plane that, when cities have anti-aircraft defenses, flies high 
and drops its load of fire and high explosives indiscrimi- 
nately from the clouds; the plane that, when there is no 
defense, swoops low and turns its machine-guns on the 
panic-stricken men, women and children in the streets. For 
hundreds of thousands of children in Spain, as for millions 
of other children in China, the plane, with its bombs and its 
machine guns, is the thing that, in the world we live in and 
helped to make, is significant and important above all 
others. This is the dreadful fact to which the drawings in our 
collection bear unmistakable witness. 

North of the Pyrenees and west of the Great Wall, the im- 
agination of little boys and girls is still free (I am writing in 
the first days of September, 1938) to wander over the whole 

Page 7 



range of childish experience. The bombing plane has not 
yet forced itself upon their thoughts and emotions, has not 
yet stamped its image upon their creative fancy. Will it be 
possible to spare them the experiences to which the child- 
ren of Spain and China have been subjected? And, if so, 
by what means can this be achieved? To this second ques- 
tion many different answers have been given. Of these the 
most human and rational is the apparently Utopian but, at 
bottom, uniquely practical answer proposed by the Quak- 
ers. That this solution, or any other of its less satisfactory 
alternatives, will be generally accepted in the near future 
seems in the highest degree improbable. The most that in- 
dividual men and women of good will can do is to work on 
behalf of some general solution of the problem of large- 
scale violence and meanwhile to succour those who, like 
the child artists of this exhibition, have been made the vic- 
tims of the world's collective crime and madness. 



y^Uj*^^ /fa f< Co. 



Page 8 



EDITOR'S NOTE 

This book was published at cost and exclusively in order 
that the profits might be contributed to the Quakers for the 
relief of children in Spain, where millions are underfed or 
actually starving. As the sale of this volume will save many 
lives, we need not be apologetic about the breach of eti- 
quette in asking the public to recommend this book. Its merits 
consist not only in Mr. Huxley's preface and in the publica- 
tion of a unique collection of documents, the like of which 
have never before been seen, but also when given to a child 
may remind it that there are millions of unhappy children 
in Spain and teach it to appreciate its own good fortune, 
which it considers a matter of course. 

The illustrations have been arranged in what one might 
call a chronological progression in four parts, adding there- 
to some miscellanea. 

First: The children's general impression of war: Plates 
1-7. 

Second: A series of drawings which picture bombings: 
Plates 8-23. 

Third: A cycle of pictures showing the flight from danger. 
Trains, trucks, steamers, rowboats, oxcarts, mules or their 
own feet brought the children to safer places: Plates 24-36. 

Fourth: The life of the children, once they are in homes 
or colonies in Spain or France: Plates 37-49. 

Fifth: Heterogeneous subjects: Plates 50-60. 

The 60 drawings were selected almost at random, with- 
out paying special attention to their artistic value. They are 



Page 9 



autobiographic pages of unkept diaries. As the Peninsula 
has given to the world its most original painters, contem- 
poraneous Spanish children's ability for pictorial art is cer- 
tainly not inferior to that of other countries. A specific 
ability for perspective cannot be denied. Those who know 
Spain will guickly find themselves at home when scanning 
these illustrations, and those who have not been there will 
intuitively feel that the atmosphere of landscape, rural or 
urban architecture has been well caught. 

As Mr. Huxley points out, the Spanish children are un- 
der the enormous handicap of not having proper material 
with which to work. Even professional painters in Spain at 
this moment complained to the writer of lack of good paint, 
canvas, pencils and brushes. The children generally have 
to use small bits of inferior paper, whereas experience 
shows that a child's talents have free scope only when ade- 
quate space is allowed, hence the superiority of children's 
murals over their drawings. Empty stomachs, frostbitten 
fingers are other handicaps. 

The captions are often as obvious, but perhaps as useful, 
as explanatory notes below reproductions of paintings even 
in many erudite books on art. Without having his attention 
drawn, for instance to Plate 40, only the most patient ob- 
server would notice the gay deviltry of the class of young- 
sters and appreciate the humor of the drawing. The sub- 
titles in quotation marks give a verbatim rendering of the 
children's inscriptions, reproducing their awkward, help- 
less, sometimes stilted verbal expressions. Their drawings 



Page 10 



are more eloquent than their words, better than their syntax. 

One of this country's great child psychiatrists noted that 
these drawings lack the morbidity often observed in child- 
ren's drawings of great American cities. He also observes 
that there are few drawings of food, so frequently the theme 
of children who live a normal life. In ordinary times Spanish 
children too painted sausages and hams. They also painted 
trains which were not meant for evacuation, and airplanes 
which carried mail and passengers. 

When Spanish children's drawings were first publicly 
exhibited, questions as to how they were collected were 
asked so frequently that an anticipated brief answer does 
not seem out of place. The writer, when in Spain six months 
ago, asked the Board of Education for some drawings, and 
within a few days was deluged with hundreds, flowing in 
from the schools of Madrid. At Valencia the same experience 
was met. To the authorities at Madrid and Valencia we want 
to express our thanks for their helpfulness. Also to Miss 
Margaret Palmer, Representative of the Carnegie Institute 
in Spain who sent us a great number of drawings from re- 
fugee centers for Spanish children in France. And to Bruce 
Bliven, from whose articles on Spanish children's drawings 
we have borrowed, with his permission, the title of this 
volume. In the name of the Spanish children we express 
our gratitude to Aldous Huxley for his most generous con- 
tribution. 

—J. A. W. 

Page 11 






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Plate 1 






lesus Esquerro, 10 years old. "My vision of the war." An excellent draw- 
ing for so young a child. 



Page 12 



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Plate 2 



Enrique de San Roman, 11 -year-old child at Colony of Puebla Sarga, 
Province of Valencia, writes above his drawing simply: "Picture of the 
war." 



Page 13 




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Plate 3 



Isidoro Martin, 1 1 years old, Children's Colony of Tangel, Province of 
Alicante. He gives his vision of the war in pen and ink. The fighting 
soldiers seem to be children of Isidoro's own age. 



Page 14 




Plate 4 



Inscription on reverse says: "This drawing represents that sometimes 
when the militia went to the front, on the way the enemy airplanes 
machine-gunned them and they have wounded some of them. Francisco 
Pedrell. Age 12 years." 



Page 15 




Plate 5 



Manuel Alonso Alemani, 6 years old, of the School Colony of Torrente. 
Note the very primitive way of drawing figures and planes, whereas 
armored cars are quite realistic. 



Page 16 




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Plate 6 






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Writing on reverse says: "Dolores Turado Alonso, 10 years old, evacu- 
ated from Charmartin de la Rosa, Madrid to Alcira, Valencia. Nov. 18th 
1937." Inscription under drawing: "The wounded distract their sorrows 
contemplating nature." On the building: "Surgical Hospital" (Hospital de 
Sangre.) 



Page 17 




Plate 7 



Tomas Bosco Gomar, 13 years old. January 18th, 1938. Watercolor. Note 
the camouflaged armored car to the right. The original shows most of 
the rainbow's colours. Destruction shown to the left, destructive engines 
to the right. As dramatic in colour as it is in action. 



Page 18 



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Plate 8 

Fernando Gonzalez Esteban, 12 years old, evacuated from Madrid to 
Alcira, November, 1937. What excitement in the sky, trembling with the 
roar of eight planes! The ruined building in the foreground has been 
shattered long ago as can be seen by growth of herbs on tower and 

walls. 



Page 19 



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Drawn by Juan Jose Martinez, Madrid. 1 1 years old. The inscription says: 
"The child during the bombardment sleeps in the subway." A cool place 
though not well ventilated during Madrid's summer heat. A bitter refuge 
when the thermometer marks zero. 



Page 20 



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Rafael Gomez, only 10 years old. "My vision of the war." An objective 
rather academic drawing, represents the literal truth: Planes, explosion, 



tire. 



Page 21 




Plate 11 



Alejandro Lazcano. No age given. Normally, a high-flying plane seems 
the size of a crow. In this child's mind the plane fills the sky, overshadow- 
ing the town it has set on fire. 



Page 22 




Plate 12 



Manuel Corona Mingo, 11 years old. Family Colony Group "Alfredo Cal- 
deron," Madrid. Searchlights focus on the enemy planes over Madrid. 
The tallent structure is the famous American Telephone Building, shelled 
160 times and still standing. 




Plate 13 



Manuel Garcia, 12 years old. From a hospital cot, Manuel recalls his 
flight from enemy planes. Covering his eyes to shut out the sight of fall- 
ing bombs, he runs with dogs and sheep as frightened as himself. Child- 
ren's Colony 10, Alicante. 



Page 24 



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Plate 14 



Spanish Center at Cerbere, France. Inscription on reverse says: "This 
scene represents a bombardment of my town Port-Bou. Marie Dolores 
Sanz, 13 years old." The girl under the tree covers her eyes, weeping 
over the death of her playmates. 





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Plate 15 



Inscription on reverse: "This scene I have seen when the airplanes came 
to bomb and children and women run to the tunnel because if they don't 
they get killed in their houses. Gloria Boada (girl) 12 years old, from 
Irun Guipuzcoa, Children's colony of Bayonne, France." The children at 
the left react differently to the enemy aircraft. One cries: "Oh Mama!" 
another, "The sirens and bells!" while the third bitterly exclaims, "How 
valiant." The woman with the child says, "To the tunnel." With hand 
raised to her face, the woman at the right cries out, "Oh, they have des- 
troyed my house!" Even the church bell speaks, ringing out "puntulun." 



Page 26 






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Plate 16 



Francisco Torres Marcos, Family Colony of Puebla Larga, Province of 
Valencia. Age 10. Inscriptions on drawing read from left to right: "Every- 
body to shelter!" "Museum." "Boom." "Mama I cannot see." "Shelter." 
(Refugio.) 



Page 27 



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Plate 17 



Spanish Center at Cerbere, France. Inscription on the reverse says: "This 
drawing represents the machine that came to fetch the cars and planes 
and everybody to the shelter . . . " — Jose Ruiz, 11 years old. This drawing 
gives considerable anecdotic detail. Only a fragment of the car the loco- 
motive is to fetch is visible on the left, below the dugout which serves 
as a shelter. A dead baby on the ground. Men and women running. 
Only the water carrier seems paralyzed. The planes are far above to 
right and left. 



Page 28 






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Plate 18 



Inscription on reverse says: (The stilted language of the 14 year old child 
is, as has been our rule, literally translated). "This scene gives the form 
of how the bombardments of Bilbao have been in the year 1937. I appear 
in the scene and was at the entrance of the tunnel of Begona." Hector 
Hilario from Bilbao. Children's Colony at Bayonne, France. The 
composition of the drawing is distinctly divided into three patterns: the 
moving planes, the once quiet village and the running mass of inhab- 
itants seeking shelter in the tunnel. 






Plate 19 



Placida Medrano, 1 1 years old. Inscription on reverse: "We seek shelter 
under the trees." A precarious shelter indeed. 



Page 30 




Plate 20 



Colony 40 Oliva, Valencia. Magalena Ruiz, 1 1 years old. A house col- 
lapses and the wooden understructure is splintered into an amorphous 
heap of timber. A dead person on the small town's street, killed on the 
way to the "refugio." A heart-breaking subject and a most remarkable 
drawing. 



Page 31 




Plate 21 



Eduardo Herrera, 12 years old. A group of. children on the main street in 
a little Spanish town looks up to heaven. Perhaps those are friendly air- 
planes. Excellent perspective. The nocturnal scene is happily rendered. 



Page 32 






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Inscription: "My house destroyed, the bricks are flying through the air." 
A dead child, a Red Cross motor truck, two adults seen in the shelter 
(refugio) the inside of which Carmen Huerta, 9 years old, shows us, as if 
it were made of glass. She comes from Chamartin de la Rosa (Madrid) 
and was evacuated to Alcira in November, 1938. 



Page 33 



Plate 23 



Lucia del Hierro, 1 1 years old. No other inscription. The expressive 
picture represents women and children standing in line to buy coal (1st 
from left), bread (center) and groceries to the right. A woman leads a 
child by the hand. A girl is jumping rope. Planes, play and the struggle 
for food. 



Page 34 



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Plate 24 



Luis Gonzalez. La Pinada, 1937-1938. The child must be about 6 years 
old, to judge by the simplified human figures which stand in the bread 
line. 



Page 35 




Plate 25 



Inscription on reverse: Colony No. 40 Oliva (Valencia) Pepa Alonso, 12 
years. "Evacuation." Peasant women wave their hands at the children 
on train travelling to or hoping for safety. Is the child crying over separa- 
tion from a friend or because she was left behind? 



Page 36 




Plate 26 



Rafael Jover Rodriguez, 13 years old, Colony at Bellus. Evacuation 
train. Is it a doll/ resting on the girl's lap, or her little sister? They are 
uprooted but for the time being their journey is exceptionally comfortable. 



Page 37 




Plate 27 



Evacuation by train from Madrid. Two of the children cry, another ges- 
ticulates in despair. A girl is still busy with her luggage, a boy shaking 
hands through the doorway. Perhaps it is a self-portrait of J. Rodriguez, 
13 years old. 



Page 38 




Plate 28 



Francisco Garcia, 14 years old, School Colony, Torrente, Province of Val- 
encia. The Swiss Aid motor truck evacuating children from danger 
encounters a plane on the way. "Is it ours or theirs?" the children ask 
themselves. 



Page 39 



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Plate 29 



Ildefonso Ortuno Ibanez, 1 1 years old. Family colony at Puebla Larga, 
Province of Valencia. The second child from the left exclaims: "I also want 
to get on!" She carries a valise, therefore was ready to be evacuated 
and must be desperate at being left behind. Not the "I also want to get on" 
of a spoiled child desirous to go on an excursion. A cry of anguish. 



Page 40 



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Plate 30 



Inscription on reverse: Luis Casero Esteban, 1 1 years old, native of Ma- 
drid, Family Colony at Puebla Larga. (Province of Valencia.) If only the 
airplanes would not hum in the sunlight. This very bourgeois family 
with the hunchbacked father looks gayly at the prospect of leaving a 
place where airplanes drone. Will there be none where they go? 



Page 41 



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Plate 31 









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Inscription: "My evacuation." Pura Barrera, 11 years old. Is the little 
girl with her family to travel in the mule-drawn cart or in the motorbus? 



Page 42 






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Plate 32 



Felipe Redoudo Blanco, 1 1 years old, Bilbao. Inscription: Evacuation from 
Bilbao to France. The steamer "Habana'' is nearing Bilbao to evacuate 
Spanish civilians to France. On the pier human figures waving their 
arms in welcome. On each side of the steamer Habana are craft flying 
the Union Jack. 



Page 43 



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Plate 33 



Inscription on reverse: "This drawing I have made to show that I fled 
from Irun in this way." Theodoro Pineiro from Irun, Guipuzcoa. 13 years 
old Children's Colony at Bayonne, France. This is cm impressive picture 
of an exodus from burning Irun. In row-boats the inhabitants fled to 
the French shore. 



Page 44 



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Isidro Esquerro Ruiz, 12 years old. Children's Residence at Onteniente. 
(Province of Alicante). Inscription over drawing: "Scenes of evacuation." 
In Isidro's village no other vehicle for flight was available but this ox- 
drawn cart. The slowest and mildest beasts of burden contrasting with 
the swift-moving, dangerous motor-driven birds above. 



Page 45 










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Plate 35 



Resurreccion Rodriguez, 1 1 years old. Inscription above the picture: 
"An evacuation." It is night. All the family's belongings are packed upon 
the mule's back. Tragedy vibrates in the nervous, artless lines of this 
drawing. 



Page 46 







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Plate 36 



Inscription on reverse reads: "This scene means my flight over the Py- 
renees. In the distance the first village we encounter: Laroun. Elias Gar- 
alda, 12 years old, from Pamplona. Children's Colony at Bayonne." The 
reproduction fails to give a clear idea of the drawing's beauty. Note, 
moving towards the church at right, the hazy forms of 4 people who 
straggle through the snow, dragging a mule behind them. 



Page 47 




D late 37 



Pilar Marcos, 14 years old, Colony at Bellus. Mickey Mouse inspires 
murals even in Spanish schools. 



Page 48 



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Francisca Gonzalez Ruiz, 12 years old, loves music, the dance and ap- 
parently also painting. 



Page 49 






Plate 39 



Julian Arjonilla, 12 years old, Children's Colony of Olivia, Valencia Pro- 
vince. Inscription on reverse says: "Movies before the war." Inscription 
on left: "Smoking forbidden." To right: "Spitting forbidden." The child 
remembers a Wild West film. The broad-brimmed hats of spectators 
seem to indicate that Julian Arjonilla' s home was in Andalusia. 



Page 50 



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Plate 40 



Maria Luz Escudero, 1 1 years old. Children's residence, Tangel, Province 
of Alicante. Pupils seem rather distracted. A difficult class to manage. 
When their country is torn in two, what does it matter whether 2 plus 2 
makes four? 



Page 51 







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Plate 41 



Inscription on reverse: This is the Colony where we live and we are 
playing "Al Cuadro." Marcelina Muneca, 12 years. "Al Cuadro" is the 
Spanish form of hopscotch. The inscription (see third child from the left) 
says: "You are cheating." 



Page 52 






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Plate 42 



Children's Colony at Saint-Hilaire in France. The child, 9-year-old Car- 
men Benitz, writes: "What we are doing in the colony." Jumping rope, 
playing ball below. The upper part of this diptych neatly separated 
from the lower one by a frieze of flowers, is a reminiscence. Bullfighting 
scenes very rarely seem to occupy the children's imagination. Only three 
corridas" in a collection of over a thousand drawings. 



Page 53 



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Plate 43 



Manolita Ortega Pallares, 10 years old, School of Chirivella. Family 
Colony, Group Alfredo Calderon, Madrid. "Playing in the Pardo," says 
the inscription. This is a reminiscence, for the Pardo has not been ac- 
cessible to children since the war broke out. Note the inverted perspective 
of the ring-around-the-rosy playing children. Rather fanciful the figure of 
the woman with a broom. What is she sweeping? 



Page 54 



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Plate 44 



Inscription on reverse says: "Football match in Barcelona." Eugenio 
Planas, 10 years old. Football has become more popular than bullfights. 



Page 55 



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Plate 45 



"This drawing represents our life in the colony playing I and others." (ah, 
the child repents and politely strikes out "I and others" adding "others 
and I") in the fronton of the Colony. Tulano Theodoro Pineiro, 13 years 
old from Irun, Guipuzcoa. Children's Colony, Bayonne, France. The 
Basque ball game, Jai-Alai, has many addicts in the French Basque 
country. It is played almost everywhere in Spain, in towns in covered 
courts, in villages against any wall. 



Page 56 









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Plate 46 



Felix Ramirez Nieto, 11 years old, Colony of Bellus. Skiing has become 
popular in Spain during the last two decades. Excepting the South Coast 
there is hardly a town from which snow covered peaks cannot be reached 
in a few hours. From Madrid to the 7000-foot peak of Navacerrada is 30 
miles, from Barcelona to Puigcerda is 80 miles. How could young Ramirez 
have missed the chance of drawing a skier who has come a cropper! 



Page 57 




Plate 47 



Inscription on reverse :"This drawing shows us before we enter into the 
school. Laura Grabacos Trias.. 11 years old." This coloured drawing has 
the quaint quality and perspective of some early mediaeval miniatures. 



Page 58 




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Page 59 




Plate 49 



Marcelino Serrano Hervas, 13 years old. Colony of Lobosillo, Province of 
Murcia. This drawing gives an excellent idea of a small rural town. 
Marcelino is a serious boy. We suppose he has portrayed himself, walk- 
ing in measured steps with his schoolmate, discussing very grave affairs. 



Page 50 




Plate 50 



Marcelino Serrano Hervas, (see preceding plate) also has an eye for na- 
ture. He is a good draughtsman, has great artistic sense, but is not over- 
lyrical. Agriculture is a sober business worthy of the attention of a mature 
young man of 13. 



Page 61 







Plate 51 



Teresa Vergara Garcia, 13 years old, School Colony at Torrente, Province 
of Valencia. Note the realistic drawing of the horse, contrasting with the 
summary treatment of the human figures picking oranges from the 
ground and placing them in a basket. 



Page 62 




Plate 52 



Victor Ramirez, 14 years old, Child Colony of Lobosillo, Province of Mur- 
cia. The drawing represents an everyday scene in Spain's rural life. 
A sledge larded with flint is driven over the wheat. This is the old-fash- 
ioned way of threshing from Babylonian, perhaps pre-Babylonian times. 
In the Near East and in Spain this primitive method is most frequently 
employed. 



Page 63 







w* 5 




Plate 53 



Carlos Serrano Hervas, 14 years old, Colony of Lobosillo. The shepherd 
and his flock is an ever attractive motive for painters, photographers 
and, as we see, also for children. 



Page 64 



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Very gifted is young Lazcano, 14 years old, who draws this landscape 
from the Colonia La Pinada. He will be a distinguished painter if he sur- 
vives the war. Here is perfect rendering of the southeastern landscape 
where nearly every inch of ground, if carefully cultivated, gives abund- 
ant crops of oranges, olives, onions and in some places even dates. 



Page 65 







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Plate 55 



Inscription on reverse says: "This represents trees and a well which is 
covered by the trees and then there is a man who herds goats and a girl 
gathering flowers. Maria Duran Gratacos, 1 1 years old." This is a flower- 
loving child, a bunch of flowers in her hands. The blossom-covered 
trees gracefully and formally bending toward each other seem to float 
in the air. The color scheme is exceptional. The drawing has the graceful 
frailness of Persian Timurid miniatures. 



Page 66 



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Plate 56 



Isidro Martinez, 1 1 years old, Colony of Tangel, Province of Alicante. 
Isidro is not a town-bred boy. Certainly a peasant child, lovingly draw- 
ing the olive crop. The fruit is being beaten down with a stick. 



Page 67 








Plate 57 



Inscription says: "In the kitchen in the school of Freinet." No age indi- 
cated. Carmen Notarilau. This gay watercolor is made by a gay child. 
Cheerful because there is peace and food in a French Colony for children. 
A very housewifey and original composition which has a quaint Marie 
Laurencin quality. 



Page 68 











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Plate 58 



What could be more cubistic than this drawing of 10-year-old Isidro 
Hernandez? An innocent Picasso. And of the Blue Period besides. 



Page 69 





Plate 59 



A. Guerra, 14 years old, drew this intricate picture of Valencia's medieval 
tower "El Miguelete." His teacher, Jose Manaut, assured the writer that 
the drawing was made in his presence, from memory. If the boy survives 
he will become an architect or a painter. He never can have seen a 
work of Bombois or Vivian which this suggests. 



Page 70 



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Plate 60 



The inscription in very childish handwriting says nothing but: "The 
burial of Miguel. Alfonso Gonzalez, 9 years old." The grim simplicity of 
this drawing shows how completely the death of his playmate absorbs 
the child's mind. Four men carry the coffin to the cemetery over the 
gate of which is the sign R.I.P. Requiescat in pace. May you rest in 
peace, little Miguel. 



Page 71 




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